Label: Mahoor Institute Of Culture And Art - M.CD-389 • Format: CD Album • Country: Iran • Genre: Classical, Folk, World, & Country • Style: Persian Classical
Dammholz in Esfahan Cylinders Recorded by M. The company which recorded and published Iranian Music was "Gramophone" and this company arranged recording sessions which for the first time were held in January with the assistance of John Taylor, American vice consul. Since some of the court musicians were among the participants of the recording sessions, Taylor promised to ask for the permission of their attendance in the sessions directly from the King.
In addition, Maxim Pick, the trade representative of the Gramophone and Hampe brothers recording experts of the company also came to Iran. Pick had prepared the requirements for the recording sessions with monsieur Lemair, the head of Iran's military music.
Lemair was responsible for the preparation of court musicians, his own ensemble and some other musicians from Tehran for the recordings.
This full collection of seven dastgahs is performed as series of records in which shur, nava and segah dastgahs are performed by Qoli-Khan Shahi while Homayun, Chahargah, Rast panjgah and Mahur dastgahs are performed by Seyyed Ahmad-khan.
This collection seems to be performed by two groups of players and vocalists of the court: the first group is Aqa Hoseyn-Qoli and his students Darvish khan, Baqer khan and Asadollah khan who accompanied Seyyed Ahmad khan's singing and the second is Shahi group conducted led by Ali-Akbar Shahi (کرشمه (آواز بیات اصفهان = Kereshme (Avaz-e Bayat-e Esfahan) - مریم تژده = Maryam Tazhdeh* - نقشبند Qoli-Khan's singing.
He was the son of 'Abbas-Qoli Khan, a member of the Amirsoleymani family, related to 'Azadolmolk, who changed his family name to Amirqasemi to be able to pursue his musical career freely. He also made his recordings under the pseudonym Salim Khan.
He would sing so accurately in tune and in harmony with the instruments and his voice had such excellent qualities that, even in the private cassette recordings made in his old age, in spite of the poor quality of recording, his rich voice is clearly distinguishable from the other singers' and accompanying instruments. There are second-time recordings of his under the pseudonym Salim Khan, made for the commercial record label "His Master's Voice" in Tehran from among which AX and AX, two recordings of good sound quality preserved in the National Library of France, were chosen and included in the present collection.
The rest is an anthology of Amirqasemi's songs recorded privately in his home, sometimes with other singers and instruments accompanying him, in the last decade of his life. The exact date of his birth is under question; it was probably some time in Unlike most seminary teachers, he made a living not by teaching but by working on his farm after school hours.
Young Eqbal lost his father when he was only seven and had to move to the city of Qazvin with his family. As a result, the young student soon mastered the different radifs of Persian music. Upon his acquaintance with Darvish Khan and the other musicians of his day, Eqbal took a trip to Tblisi to produce a record and give a live performance.
Its most remarkable characteristics are: 1. The improviser mainly relies on radif as model and uses it as to how modulate and how to form musical periods and motifs. Free-metered passages are more important than fix-metered ones. Improviser scarcely performs fix-metered passages and his art manifests itself primarily in free-metered sections. In free-metered passages the performer is not involved with well-defined and clear periods and phrases; memorable thematic material are scant and improviser tries to decompose melodic ideas and to develop them.
Occasionally, an idea is introduced as intact and the improviser manipulates it. This manipulation of an idea usually results in its total deconstruction, beacuse of which it might become almost unrecognizable. Applying highly-ornamented, ascending and descending passages creates coherency in improvisation; they connect sometimes 2 or 3 important tones of the mode.
Other characteristics of the Qajar style are: 1. Continuous uninterrupted phrases with few rests, 2. Abundance of ornamentation, 3. High speed and high density, 4. Narrow dynamic range, 5. Copious tremolo passages in plucked chordophones and using bass string as drone.
Musicians in this style are regarded as indisputable masters of Persian classical music. Amongst them the Farahani family is dominant. Its version of radif is still the most important and ubiquitous musical heritage.
He was still a child when his father, Aqa Ali-Akbar Farahani, died and he studied tar first with his elder brother, Mirza Abdollah, and afterwards with his cousin, Aqa Qolam-Hoseyn who had already learned radif from his uncle. Aqa Hoseyn-Qoli played tar with utmost skill and with more delicate and rapid tremolos than those of his brother, Mirza 'Abdollah. His was a remarkable and clean tone and his rendition of periods and phrases were precise and attentive.
He showed little interest to punctuate gushes with fix-metered pieces. Aqa Hoseyn-Qoli died in c. He also recorded a few of his (کرشمه (آواز بیات اصفهان = Kereshme (Avaz-e Bayat-e Esfahan) - مریم تژده = Maryam Tazhdeh* - نقشبند solo performances. In the booklet of this album which is written by Farshad Tavakoli, he has note that: "Forutan's style of setar is where Mirza Hoseyn-Qoli's with zarbis and Rokneddin Mokhtari's pishdaramads reach each other and these two combine with ornamentations of Darvish Khan's setar and tone colors of Moshir-Homayun Shahrdar's piano Forutan's setar narrates Naseri's period national hymn made by Jean-Baptiste Lemaire with the same genuineness that narrates Shahrashub in Shur.
Drums - Pupure - Unknown Artist - Tahiti Dances To Drums Of Bora Bora And Papeete Esfahan Bayat-e Zand Daramad-e Chargah Charmezrab-e Chargah Avaz-e Chargah Zabol Mokhalef Edameh-e Avaz-e Mokhalef Charmezrab-e Mokhalef Daramad-e Homayuon Ghet'eh-e Zarbi-e Sangin-e Homayuon Shoor: Moghaddameh Shoor: Charmezrab Shoor: Forood Abou'ata: Moghaddameh Abou'ata: Charmezrab Daramad-e Shooshtari Se-Zarbi-e Shooshtari Charmezrab-e Shooshtari Daramad-e Shoor Se-Zarbi-e Shoor Daramad-e Bayat-e Esfahan Ghet'eh-e Zarbi-e Bayat-e Esfahan Charmezrab-e Bayat-e Esfahan Daramad-e Dashti Ghet'eh-e Zarbi-e Sangin-e Dashti Daramad-e Homayoun Ghet'eh-e Zarbi-e Homayoun Charmezrab-e Homayoun Ghet'eh-e Refugee - The Subhumans - Incorrect Thoughts (Vinyl, LP, LP, Album) Sangin-e Mahoor Moghaddameh-e Segah Ghet'eh-e Zarbi-e Sangin-e Segah (کرشمه (آواز بیات اصفهان = Kereshme (Avaz-e Bayat-e Esfahan) - مریم تژده = Maryam Tazhdeh* - نقشبند Avaz-e Segah Charmezrab-e Segah Ghet'eh-e Zarbi-e Sangin-e Bayat-e Zand Avaz-e Bayat-e Zand Record making in Iran started before the constitutional revolution around Abolhassan Eqbal-Azar Eqbalossoltan was born in a village called Alvand, 6 kilometers from the city of Qazvin in the northwest of Iran.
Charmezrab-e Homayuon. Abou'ata: Forood. Charmezrab-e Shoor. Charmezrab-e Dasht i. Charmezrab-e Bayat-e Zand.
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